With gender fluidity coursing through this men’s fashion season, Wooyoungmi’s contribution felt less like a declarative stance than a metaphoric gesture, as if Madame Woo and Katie Chung were conducting it through the clothes. It swished around the paneled vents up the fronts of pants and filled the ballooned back of a blouson. According to Chung, the impulse was personal, originating at their family garden outside Seoul; the more they reflected on the variety of natural elements, the more they considered their garden genderless. On the runway, this interpretation of nature appeared highly distilled, so that rotated collars and color incrustations in coats hinted at the fold of a leaf, or the curve of an arum lily. Extra-long cuffs were unmistakably petal-shaped.

But it doesn’t much matter if you made the connection; you were likely too focused on figuring out how this wardrobe of unpretentious design hovered between form and fluidity. One theory: Women creating menswear inevitably perceive the body differently. All those roomy coat sleeves could have been boxy; but no, they were rounded. Not once were the trousers taut. So, naturally, the introduction of a women’s capsule—primarily comprised of men’s pieces—seemed like a seed planted long ago. Both male and female models wore looks featuring handcrafted swirling floral embroidery and beaded flower patches. A garden is shared space.